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Which is not to say that you can’t have typos in your work everything has typos. You don’t want to be ungenerous-but it is really hard to be generous to a writer who hasn’t taken care with their work.
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When you are reading hundreds or thousands of submissions a month, that just sets you off. I can’t tell you the number of submissions I’ve read with typos in the title or the first paragraph. It’s the small things! Follow the submission guidelines. Having worked as a literary magazine editor, what advice do you have for writers? It made me a better writer and particularly helped my nonfiction. I learned so much about audience, rhetorical analysis and rhetorical writing. in creative writing, but Michigan Tech made me an unbelievable offer to study there, and so I couldn’t say no.
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I was planning originally on getting my Ph.D. Did that training and experience in technical communication help you as a creative writer?Ībsolutely. is in technical communication and rhetoric. You can tell because their work is original, exciting and vibrant. Most of my favorite writers are self-taught. You can be self-taught, take writing workshops, find a writing group-there are just so many different ways.
#ROXANE GAY BOOKS SUBMISSIONS HOW TO#
there is absolutely no need to go into debt to learn how to write. For some people, an MFA program is an appealing idea. I think that whatever way you come to writing is the right way. In these online exclusive outtakes, Gay dishes on when to know you’re submission ready, how to embrace rejection, and more.ĭo you feel there is a “best” path, such as earning an Master of Fine Arts in creative writing, for learning the craft? Look for our feature-length interview with Gay in the September 2017 Writer’s Digest. Yet in terms of how she interacts with budding writers-witty, gracious and kind, yet instructive, without sugarcoating any of the challenges of either the craft or the business of creative writing-she hasn’t changed a bit. By 2016, when she was our keynote speaker, Gay’s fame and respect in the literary world had skyrocketed. A few years later, she led an afternoon session on fiction writing for our weeklong summer workshop. The first was shortly after Ayiti was published, when she served on a panel of editors at one of our events. In my role as executive director of the Antioch Writers’ Workshop at the University of Dayton, I’ve met Gay three times. Hunger is perhaps her most personal book yet, exploring with candor Gay’s experiences with weight, self-image and an act of violence in her youth that shaped her worldview. This year brings another pair of new titles from Gay: the fiction collection Difficult Women and her much-awaited memoir, Hunger, published in June.